Alec Mingelmanganu : Master of the Wandjina

Style

Alec Mingelmanganu’s Wandjina paintings are among the most distinctive produced during the early development of commercial Kimberley Aboriginal art. His figures are usually monumental in scale, often filling almost the entire bark or canvas surface and creating the impression that the ancestral being is too large to be contained within the composition.

One of Alec’s most recognisable stylistic features is the treatment of the eyes. In many works he depicts the eyes as two opposing arch forms separated by a thin vertical nose. In earlier paintings the eyes are often closer together and more oval in shape. His Wandjina also commonly feature dramatic upward sweeping shoulder forms that rise sharply beside the head, sometimes extending almost level with the bottom of the nose itself. These shoulders appear related to Wandjina figures Alec encountered during visits to the Lawley River area with anthropologist Ian Crawford.

Alec usually painted full frontal Wandjina figures on either arch-shaped bark or rectangular compositions. Dense dotted infill, compressed composition, and the close relationship between the figure and the edge of the bark all contribute to the extraordinary spiritual intensity of his finest works.

Alec Mingelmanganu Compared With Other Wandjina Artists

The closest stylistic comparison to Alec Mingelmanganu is Jack Karedada. Like Alec, Jack frequently used the entire bark surface and painted slightly upward curving shoulder forms rising beside the head. Both artists used opposing arch-shaped eyes separated by a narrow nose. However, Jack Karedada’s eyes are usually considerably smaller and more restrained, while Alec’s shoulders are generally more exaggerated and dramatic.

Charlie Numbelmoore developed a different Wandjina style characterised by large round eyes with very fine eye lashes and a more solemn facial presence. Charlie’s paintings often derive their power from the haunting expression of the eyes whereas Alec’s works are usually more imposing compositionally, with the entire figure dominating the bark surface.

Lily Karedada generally painted softer and more decorative Wandjina figures, often with rounded eyes and a slightly more approachable appearance. Some early Lily Karedada paintings, however, show arch-shaped eyes influenced by the Alec and Jack Karedada style.

Waigin Djanghara also commonly used round eyes, though these are usually smaller than Charlie Numbelmoore’s and positioned lower on the face. Compared with Alec Mingelmanganu’s compressed and monumental compositions, Waigin’s figures generally possess a calmer and more balanced presence.

For collectors and researchers, differences in eye structure, shoulder form, scale, and compositional compression are often critical when attempting to identify early unsigned Wandjina bark paintings.

In 1979 Mary Macha began investigating whether traditional ochres worked on canvas. The resulting artworks were the first canvases from the Kimberley region. Mingelmanganu participated in the ochre canvas experiment. Mingelmanganu wanted to replicate the life-size of Wandjina cave paintings. Canvas being larger than bark slabs allowed him to achieve this. His artworks on this larger scale drew immediate attention to his genius.

In September of the following year, Alec had a solo show at the government marketing company’s Aboriginal Traditional Arts in Perth. The four canvases produced for this exhibition are amongst the finest depictions of Wandjina ever made for sale.

Alec Mingelmanganu on Slate and engraved Board

Alec Mingelmanganu also incised a few smaller Wandjina on slate and on softwood planks.  These are still collectible but not as desirable as his paintings. Many of these works on slate do not carry the presence of his paintings.

Alec’s motivation to do Wandjina paintings was to encourage the continuation of cultural practices and religious beliefs. His works have a strong spiritual presence. Wandjina are still painted today, but as a pioneer painter Alec’s works hold an important place in Australian Aboriginal art history.

Alec died in 1982.

Mingelmanganu is sometimes spelled Alec Mintjilmanganu or Alec Mijelmarngu

Why Are Alec Mingelmanganu Paintings Important?

Alec Mingelmanganu was one of the pioneering artists who helped transform Wandjina imagery from sacred rock shelters onto bark and later canvas during the early development of commercial Kimberley Aboriginal art. His paintings are important not only for their remarkable visual power, but also because they retain a strong connection to ceremonial tradition and the early history of contemporary Aboriginal art in the Kimberley.

Are Alec Mingelmanganu Paintings Valuable?

Yes. Paintings by Alec Mingelmanganu are highly collectible, particularly early bark paintings and the large ochre canvases produced around 1979–1981. Value is influenced by condition, provenance, size, period, and the strength of the composition. His finest works are regarded among the most important early Wandjina paintings and can sell for $50,000+ AUD with small slates selling for as little as $1000AUD 

Did Alec Mingelmanganu Paint on Canvas?

Yes. Alec Mingelmanganu was among the first Kimberley artists to experiment with natural ochres on canvas during the late 1970s. These large-scale works were important in the development of contemporary Kimberley Aboriginal art because they allowed Wandjina imagery to be painted on a scale much closer to the original rock paintings.

Can I Sell an Alec Mingelmanganu Painting?

Yes. If you own a painting that you believe may be by Alec Mingelmanganu, clear photographs of the front and back, dimensions, and any known provenance can assist in assessing authenticity and market value. Early bark paintings and major canvases are particularly sought after by collectors.

Alec Mingelmanganu Bark painting images

The following bark painting are not a complete list of works but give a good feel for the variety and style of this artist.